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1 INSTRUCTIONS ON I 

I MODERN SHOW 1 
J CARD WRITING 1 

= i By J. G. BISSELL = 


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INSTRUCTIONS ON 



Modern Show Card Writing 

Practical Instructions on Show Card Writing With the Brush and 
Pen — Covering All the Modern Methods in the Elementary 
Rudiments of this Art — -With Appropriate Illustrations and Modern 
Show Card Alphabets. Valuable Suggestions on the Care of 
Brushes, Preliminary Preparation and Many Other Valuable Hints 

BY 

J. G. BIS SELL 



Copyright 1913 by the J. G. Bissell Company, New York City, U.S.A. 



PREFACE 

In the compilation of this volume, the chief effort has been to present clear and concise instructions in show card writing in con- 
nection with plain and practical specimens. Elaborate, intricate, old-time alphabets have been omitted; basic principles and standard forms 
have been considered and inserted. Remodelled alphabets have been added not merely because they are new, but because they are prac- 
tical. Simplicity, strength, beauty and speed have been uppermost in mind. 

This book has been' gotten up to reveal the modern methods in making show cards in the least possible time. The specimens con- 
tained have been given to illustrate a few of the most important points which should be kept uppermost in the mind of the beginner. 

The subject treated on does not cover all the points by any means, but in this limited space, we believe some of the most important 
elementary features are covered. 

The practicability of the illustrations alone is worth many times the cost of this book, not to say the many valuable suggestions 
which the author has learned only from many years of practical experience. They represent the little things that constitute the art in show 
card writing. 

The heavy stroke alphabet has been given first place on account of its practicability and appropriateness. No other style is so widely 
used and as practical for all purposes as this one, and we put particular stress on your becoming more proficient in this half block letter 
than all others. 

It is hoped that the following few pages are clear to you, and will help you materially in your future aspirations. As to how well it 
has succeeded in helping you, rests a good deal with yourself in following these few hints carefully. 



)0I *348978 

II 



Material for the Beginner 



I believe there are but few who do not appreciate the importance of the best accessories for show card writing, or in fact for 
any other profession requiring tools, etc., as it is generally understood that the best is the cheapest in the end. Fortunately, compared 
with the amount of profitable returns derived from this art, the cost of the initial equipment is very small. The outlay should not exceed 
more than $3.00 or $4.00. This, of course, does not include an equipment necessary to do show card work in all its possibilities, but only 
for the fundamental principles as represented in this book. For the benefit of those who are not familiar with the requirements I suggest the 
following list as being necessary in beginning with this work: 



One No. 6 Red Sable Show Card Brush 
One No. 8 Red Sable Show Card Brush 
One No. 10 Red Sable Show Card Brush 
One No. 12 Red Sable Show Card Brush 
One No. 1 Red Sable "Script" Brush 
One No. 3 Red Sable "Script" Brush 
One No. 6 Red Sable "Script" Brush 
Half dozen Round Writing Pens, No. 1 
Half dozen Round Writing Pens, No. 2 
Half dozen Round Writing Pens, No. 3 
Half dozen Round Writing Pens, No. 4 
One double end Pen Holder with Ink Retainer 



One Ruler or Straight Edge 

One piece Art Gum or Sponge Rubber 

One dozen Thumb Tacks 

One Combination Compass 

One pair of Large Shears 

One T Square 

One Box Charcoal 

One Box White School Crayon 

One Soft Lead Pencil 

One dozen assorted 2-oz. Bottles Bissell's Satin Finish 

Show Card Colors 
A supply of Eight-ply Card Board, coated one side 



Any of the above articles can be purchased from your dealer or direct from the J. G. Bissell Company, 49 Barclay Street, New 
York City. 



Preparing for Practice 



Almost any kind of smooth surface paper or card board is suitable for practicing — possibly plain Manilla wrapping paper would be 
the most convenient for you, as this serves very well. It would be well to rule your lines on your pract'ce sheets in order to guide and help 
you in making your letters uniform. The progress of this art is more or less slow to begin with. However, you are bound to improve with 
each effort, and in order that you may see at all times the headway you are making, I would advise your saving your exercise sheets, mark- 
ing the dates on them. You may readily see from these records, the improvement you are making from time to time. This will lend a 
great deal of encouragement to you. And it is my opinion that you will note a greater change in your work after a couple of weeks' practice 
than you have any idea could be accomplished in that length of time. The important thing of course is to continually keep practicing, 
and you will be rewarded for your efforts when least expected. Study your instructions carefully and refer quite often to the alphabets 
and practice strokes, as you must work to improve each letter. If your letter does not look right, compare every angle and stroke with 
that of your copy and endeavor to discover where the defect lies, as a small error which you may not notice in the start will spoil an 
otherwise perfect letter. Do not practice on the letters which are easy to make, but double your efforts on those which are most diffi- 
cult for you. Learn the principal strokes before starting. 



Practice With Confidence 



Lack of confidence in your work is a dangerous thing, and has very often meant failure in many undertakings, therefore I would 
advise you not to work too hesitatingly. While there are times when your work will require care, it is best to cultivate the habit of going 
at your work boldly, and with confidence. 

Keep at it with enthusiasm and determination. 



How To Correct Errors 

Mistakes are likely to happen at any time, and are probably as frequent among the best workmen as with the novice. However, a 
great many mistakes can be avoided by taking extra precaution at the start. The time thus consumed will be much less in the end than the 
time required in correcting errors. Read over your inscription carefully each time after it is laid out. It is not necessary to mark out your 
letters perfectly but simply show a faint suggestion of each individual letter. This will help to prevent many errors and at the same time 
will aid you in spacing the card. It will be necessary in this connection to make a few suggestions of practical ways in which errors can be 
rectified. In some cases, however, more time can be gained by making a new card entirely. 

There are many ways of making corrections, but I believe the following are the most practical. If the error is made on a white 
card with enamel surface, a sharp blade of any kind should be used, if the mistake does not involve too large a surface. I would 
caution you not to penetrate below the surface of the enamel. After the correction is made the surface should be burnished or smoothed 
down with some hard, smooth object (an agate burnisher is preferable) in order to flatten down the nap or fuzz of the card. Your thumb 
nail can often be used to good advantage. If the error should involve an entire line of lettering or word, a very clever method can be used 
by pasting a strip of paper over the words, and running a neat border line around this strip to form a panel. White or tinted paper can be 
used, and should be lettered after it has been pasted to the card. If the paper is cut straight, lined neatly and close to the edge, it is not 
likely that it will be detected or be attributed to a mistake. In fact, it will improve the looks of the card. This same method can be applied 
to any color of card board. Small errors on the tinted boards can also be removed with a sharp knife. It is also possible to correct errors 
made on these tinted boards by the aid of a damp cloth when water color is used. However, there are certain cards which have a water 
color coating; therefore, it would not be well to use water, as this would leave a blotchy spot after the letter has been removed. In this 
respect, it will be necessary to test the nature of your card board before applying the wet rag. 



Show Card Colors 

Only a few years ago, when the possibilities of show card writing began to be realized, the larger percentage of card signs were lettered 
with oil or Japan colors, but there are very few to-day who are using this preparation for show cards. Time and experience have proven 
that water colors are more practical and satisfactory for this purpose. Those who realized the importance and practicability of water 
colors, originally prepared this mixture with ordinary dry colors mixed with mucilage or glue, and thinned to the proper consistency 
with water. There are many good reasons why water colors are preferable for card work. They are free from the disagreeable' turpentine 
odor which you will experience in oil or Japan colors. They will dry firmly and almost instantly after they have been applied, water being 
the only thing which will affect them. It would be rarely that water would come in contact with them, as this preparation is intended only 
for interior signs, and would not do where they are exposed to the weather. Another important point in their favor is that they can be 
instantly removed from the hands by the aid of water without leaving any stains. Receptacles, brushes and other articles which are used 
in their connection may also be cleaned easily and quickly. 

The increase and popularity of this art in the last few years has necessitated a practical water color preparation to eliminate the 
old method of artists preparing their color by hand, which required a great deal of time, and was seldom satisfactory. Since this time, 
several preparations of more or less merit have been placed on the market, and considering the very low cost of these ready prepared 
colors, it will not pay the card writer to putter away his time trying to prepare a color for this purpose. In this connection, I can say with- 
out hesitation that Bissell's Satin Finish Show Card Colors are the most practical preparation of this kind which can be purchased from 
almost any dealer in paints, stationery and artists' supplies. On account of their popularity, you would probably have less trouble in 
obtaining them. Since the advent of Bissell's colors nearly every practical show card writer has been convinced of their superior merits. 
They are further recommended on account of their bright, strong, clear, attractive colors, and are prepared in every detail by capable 
men who are practical, and appreciate all the requirements necessary to produce the best results in show card writing. They contain all 
the adhesives for binder and are ready for instant use. On Page 56 of this book you will find a list of sizes along with prices and the 
different colors in which these are prepared. The matter of color is an important one, and the best will go far in producing the desired 
results. 



I 



Care of Brushes for Show Card Writing 



Brushes used for show card work should be looked after with the utmost care. This is one of the first and most important tools with 
which you should become familiar. The Red Sable brush for this purpose is the most popular, and by far the most practical and serviceable. 
Camel hair brushes do not contain sufficient life for water colors, and soon become flimsy and void of all spring or elasticity. Red Sable Brushes 
are not affected in the least by water, in fact, they will eventually become more elastic. With the proper care, they will outlast several 
cheaper ones; at the same time will enable you to do your work more neatly and in much less time. Any style of Red Sable brush is not 
satisfactory by any means. Show card brushes containing the finest quality of red sable hair are represented in the back of this book, and 
can be recommended without hesitation as being the best for this purpose. Your brushes should be thoroughly cleansed in water immediately 
after using, and do not allow color to dry in them; but should you carelessly overlook this, do not bend the hair until the color has 
been thoroughly moistened throughout the brush by rinsing in water. Allow the color to soak loose of its own accord. If you should 
bend the brush while the color is hardened, the hair next to the ferrules will break, and will ruin brush in a very short time. Never 
stand a brush so that the weight of the handle rests on the point of the hairs, as this will warp the hair and render it valueless for neat 
show card lettering. After you have thoroughly washed your brush, squeeze with your fingers all the surplus water from the hair, leaving 
it in a flattened condition. Then lay your brush away in a position so the hairs will not be disturbed. Some card writers use a glass 
tumbler for this purpose by placing the handles down in the glass so the brushes will stand upright. Others use a small, flat box with a 
partition about one inch in height, to elevate the ends and protect the hair, the partition being notched to keep the brushes in place. 
By carefully observing these suggestions, the life of the red sable brush will be prolonged and last you a long time, and will always be 
ready for immediate use. 



Use of Different Styles of Numerals 



In using a certain style alphabet, it does not necessarily follow that numerals of this same type should be used in connection. 
Generally the effect is more pleasing where a different style numeral is used than that of the style used for the main composition of your 
card. To illustrate this point, I refer you to Figs. 14 and 33. You will note that the numerals are to the extreme and produce a much 
better effect. It is generally a custom to feature the selling price of an article; this adds to the attraction of the card. This same method 
can be applied as well" to any prominent lettering on your card, to which you desire to bring attention. 



The Meaning of Single Stroke 

The words "single stroke" or "flat stroke" apply to letters which are made with single strokes of the brush. This of course does not 
mean that the entire letter is completed in one stroke, but each individual part is executed with one sweep of the brush or pen. All the 
alphabets in this book are in the single stroke class, excepting the Brush Script on pages 40 and 41. Fig. 5 will demonstrate the strokes in 
connection with the "Flat Stroke Egyptian." Some of the letters will require more practice than others. By the old method, letters were 
made by several strokes to each bar or curve, which required a great deal of time; but since the growth and popularity of show card writing, 
the demand has been so great that it would be impossible to meet the demand without the aid of the single stroke method. This rapidly 
growing profession can be attributed to the progressiveness of the up-to-date merchant. It has only been in recent years that show card 
writing has become a distinctive trade in itself. Formerly these cards were furnished by the local sign painter who did not appreciate the 
broad field in this line. The exorbitant prices which were charged made their popularity prohibitive. There are many who had the fore- 
sight to take up this line as a specialty; incidentally reaping great profits from this fascinating art. 



Card Board 

There are many different grades of card board, which range in price from 2 cents a sheet up. Most show cards are made in standard 
sizes, namely, full sheets, one-half sheets, one-quarter sheets, and one-eighth sheets, or sizes 22 x 28, 14 x 22, 11 x 14, and 7 x 11 inches- 
It would be well to adhere to these sizes as much as possible in order to save waste in the cutting. If you should use any quantity of card 
board, I would suggest that you have same cut on a regular cutting machine. If your dealer is unable to cut these in the desired size, they 
can be taken to your printer, and cut in any size to meet your requirements at a small cost. You, no doubt, will have some calls for special 
size cards, and therefore a large pair of shears for cutting is advisable. The bristol boards coated on one side are the most satisfactory 
and used by nearly all professional show card writers. This quality paper can also be obtained with enamel finish on both sides, but it 
would seldom be necessary to letter the two sides of the card; the extra expense in getting the double surface would not be necessary. 
These goods can be purchased at almost any stationery or art store. This special card board comes in many thicknesses, known as plies. 
Six, eight, and ten ply are used mostly. The six ply being lighter in weight, would therefore be used for price tickets and for all cards up 
to size 7x11; the ten ply would be used for the large cards, as it is necessary for the board to be of sufficient strength to stand on edge with- 
out sagging or bending. The surface board has many advantages, the main one being, that in case of error, the color may be easily removed with 
a sharp knife, as the coating is not hard, and therefore easily removed. This quality can be obtained only in white. Colored card boards 
can also be obtained in many shades, etc. These also come in many different plies. Mat boards are also used quite extensively. This board 
generally comes in rough or pebbled surface. They make excellent frames or mats for show cards. By cutting out a center opening and 
gluing your regular lettered show card on the back, exposing the lettering through the opening in the mat board, you will have an excellent 
contrast, which will improve the looks of your show card. These mat boards also come in many different shades. Sizes of the regular 
sheets are about 30 x 40 inches. These can be purchased from any store doing picture framing. These boards are also used a great deal 
for lettering, and when executed properly, furnish a very neat and refined appearance, and are appropriate for any purpose excepting regular 
special sale cards. The thickness of this board averages about 1-16 inch to 1^ inch. 



Arranging Inscription 



Plain or straight lines should be favored as much as possible when laying out your inscription. It not only makes the letters easier 
to read, but much easier to balance than those of the curved lines. However, there are times when a curved line can be utilized to good 
advantage. The specimens on pages 18 and 19 are examples in this class, and are used in this form for reasons mentioned in the instruc- 
tions treating on this style, but avoid the curves as much as possible. Show cards should always present a neat appearance and for this 
reason it is very important that you use a medium in marking out your inscription that can be easily removed or not detected from a slight 
distance. Charcoal, which can be purchased from any paint or art store, is used quite extensively. When sharpening this to a point and 
applied to the card very lightly it can be removed, after your sign is completed, with a soft cloth or feather duster and will leave but a faint 
trace on your card. Ordinary school crayon sharpened in the same manner is best for colored card boards. The chalk is inclined to 
be a little brittle for some purposes; to overcome this, moisten the end, after it has been sharpened to a wedge shape. This will make a sharp 
fine line and can be removed easily with art gum or sponge rubber. On very smooth surface, it can be removed with the duster or a soft 
rag without injury to the surface. When using a lead pencil, select a soft one, and mark very lightly on your card, as too much pressure 
will crease the surface on the board, thereby making it more or less noticeable after you have removed the pencil marks with the rubber. 



Treatment of Oily Surface 

Owing to the variety of card boards and novelty paper, you are apt to experience a little annoyance at times with your color "creeping" 
or "crawling" on their surface, caused by greasy or oily substances. Prespiration from the hand often causes this. Any printed or figured 
paper is apt to act in this way, which is due to the oil in the printer's ink. Sometimes smooth or slick surface boards will act in this way. 
The above faults can often be overcome by a simple application of powdered chalk, by using a rag and rubbing the surface of the board 
thoroughly. You should not use too much chalk, as this is likely to make a dark card "hazy." If this does not get the desired results, 
use ordinary baking soda on a damp rag, applying same to the greasy portions of the card. 

10 



When Words Should Be Given Prominence 

The matter of giving prominence to different words on your card is a study in itself, and an important one. First of all you should 
study the parts of your copy which would be foremost in interest to those who are likely to be interested in that particular line. As an 
example, refer to Fig. 21. The word "Furs" is the first thing of interest. "Exceptional values, prices that tell the tale" are minor parts 
of this card, and therefore should not be brought out in as strong a manner as the main subject of interest. If the prospective customer 
is interested further, you can rest assured that the balance of your copy, no matter how small, will be read with care. Fig. 26 gives another 
example in this respect — the first subject of interest being the word "Shirts." The next is price. Both of these you will note are featured. 
The $1.50 value is superfluous or a minor detail to the prospective customer. By carrying out the style of your cards along these lines it 
will have a great deal to do with their appearance. You will find that if you always follow the rule of giving extra prominence to the words 
of interest and by making the minor description of your subject extremely small, the appearance of your card will be artistic and more 
likely to get the results for which it is intended. 



ii 



Embellishments 

I . , writer who uses g' » >d judgment in creating different embellishments is very valuable to Ins employer, and can depend upon his efforts 

ated. Owing to t lie limited space in this b ><>k, I have only submitted illustrations of show cards in their simplest form. It will only 

• ' • - until you will graduate from the schoi >1 of plain cards to that of the more decorative kind, and in view of this, I wish to offer a 

iM ion--, which might help you in this respect. There are many ways in which to decorate your cards; in fact, the ideas which can be 

ted are unlimited, and will depend upon your own ability to originate. It is a good habit to clip all pictures which may strike your fancy, 

e them away in a clarified form; for example, keep flowers in one section, and scenery in another, etc., this applies to all manner of 

In this way you can easily Incite an appropriate picture at any time. By Compiling these pictures, etc., from time to time, it will 

ig until \oii ha\e a good collection, and >'( >u will have little tn iuble in selecting a decoration which would be quite appropriate for 

ibject winch you may treat upon. By pasting these on your card, and running a neat border or scroll around them, they will 

,e the loi iks of your sb >\v card. Wall paper can also be used in all manner of ways for show cards; however, one precautu >n which 

ould take i- not to select designs which are too gaudy, as this will detract too much from the most important part of your card — the 

i-rtei .. Light shades of wall paper can be used for backgrounds by pasting them over the entire card board. Diamond dust is also used for 

. very good for winter effects. ( jlitter and flock will also greatly improve the appearance of a show card, and can be Used in a 

number of way s, although it is used principally for decorating letters by using a glue sizing, and sprinkling the flock or flitter on to this 

l w II readily adhere to the glued surface only. The rest can be easily shaken off. Beautiful effects can be obta ned by the use of 

,sei . Ml these embellishments should be worked out in a careful manner and should not be overdone. The four seasons of the year 

many oppi >n unities to use these deo >ratii 'lis. in fact, each month of the year can be worked out according to existing conditions. 

I ■ tal and historical evenh which offer another field for embellishments. I will mention a few of t lie most important 

e\er, I do not believe it necessary to enumerate the emblems which are appropriate for each occasion, as you are as familiar 

then I am. l-ebruary JJnd commemorates the birth of George Washington. Anything in connection with the ill-fated cherry 

on tin occasion. April is Easter month, commemorating the Resurrection. Any color belonging to the 
ropi I'he E.istei lily i used quite extensively as an embellishment. May ,^)th, Decoration Day, is the day 

Mneruai ti buti to their departed heroes. Hags or the patriotic colors red, white and blue are use: 

' meiith.n w appened Inly Ith. Tin represent the great national event which offers man) ideas for 

moiitl I' 'I ank giving, iikI al < known in some sections as the Football month. December J5th 
re t. i i pecially the children, than any other event in the year. The appropriate decorations for 

n- in. n ind I w ' lea\ i loofierauy uggestiom, as yo;i no doubt are quite familiar with all of them. 



Flat Stroke Egyptian 



This style alphabet as shown on pages 14 and 15 has many titles. However, it is commonly known by the average show card 
writer as the "Flat Stroke Egyptian," and I consider this one of the handsomest and most practical alphabets used by the profession 
to-day. It is the most difficult to execute, that is to say, to make these letters neat and graceful in single strokes. Hov/ever, it is impos- 
sible to complete all of the letters without having to retouch them at times, although there are many professional card writers who are so 
proficient in this style that little retouching is required. This is due a great deal to their perfect understanding and appreciation of the 
proper kind of brushes and color. I submit an illustration (Fig. 4) to give you an idea of the brush which is used by most professionals 
for this, and many other style alphabets. However, there may be a few who are partial to the brush termed as the "flat stroke," which 
is illustrated on page 54. The brush in Fig. 4 is known as Bissell's Red Sable "Show Card" brush; while the ferrule is round, it is very easily 
trained to a flat position, as you will note. This style comes in many sizes, as illustrated on pages 52 and 53, and made of the purest red sable 
hair, which is specially adapted for show card work. While this hair is the most expensive known for brush purposes, it is the cheapest 
in the end. Another important matter which is overlooked by many when starting into this profession is the care and training of the brush. 
I have written a special article on this subject, which you will find on page 7. You should always make it a point to execute your brush 
strokes continuous and not by "choppy," short strokes. For the heavy alphabet your brush should be well filled with color, mixed thoroughly 
in the hair in order that it will flow freely. Do not work from the extreme end of your brush but press firmly on the card, as this will give 
you a more uniform letter. Do not try to be too accurate in your work, as this has a tendency to make your letters look "stereotyped" or 
''stiff," as it is termed. The fewer strokes you use the more graceful your letters. Start out boldly and acquire in the beginning the habit 
of rapidity. Your first few attempts may be a little discouraging, but you will note a great change in a short time by diligent practice of 
an hour or so each day. Do not practice at times when you are not in the mood, as this sometimes will go further to discourage the beginner 
than anything else. But practice whenever you can, as often as you can, and each day you will experience better control of your brush. 
Only by diligent and patient efforts can one improve in this or any other line. 



13 



Flat Stroke Egyptian — Upper Case 



ABCDEFGMJK 
LMNOPQPSTU 

YWXYZ&9?:! 



Fig. 1 



Flat Stroke Egyptian — Lower Case 



abcdefghijklmn 

opqrstuvwxyzn 

123456789 






Fig.2 




Fig. 4 

The illustration of Fig. 3 will give you a fairly clear idea of the position of 
the brush in making the "Flat Stroke Egyptian." The brush should be held in 
a perpendicular position as much as possible with the fingers resting lightly on 
the card as illustrated, in order to act in regulating the pressure on your brush. 
Acquire the free arm movement in the beginning along with the finger movement. 
In this way you will be able to make your strokes in much less time than by using 
only one movement. Have the formation of your letters well defined in your 
mind before beginning, or in other words, keep your mind a little in advance of 
your hand. In making your strokes keep a continuous uniform pressure, and in 
ending same, your brush should be lifted, rather than dragged, from the card board 
until the extreme point forms the end of your letter, thus ending with a slight 
movement to one side or the other, as illustrated in the skeleton E in Fig. 5. You 
will note the endings are slightly spurred at one corner. This is important, and 
will save you a great deal of time in retouching the ends of your letter, and will 
prevent raggedness in ending up your strokes when making the letters in a hurry. 

Avoid gripping your brush too hard, as this is very common with the beginner and will cause cramping of the fingers and annoy you. Relax 

the muscles of the hands, with just sufficient pressure to keep the brush from slipping in your fingers. 



16 





Fig. S 

Practice Strokes 

The exercises in Fig. 5 represent the important strokes of the "Flat Stroke Egyptian." The dotted lines are merely to show the un- 
finished parts of the letter in connection with the different strokes relative to same. These exercises are executed with one stroke of the 
brush. The fundamental principles of almost all letters can be divided in three classes: The vertical line, the horizontal line, and the curved 
line. I believe it is hardly necessary to go into detail regarding all the letters, and for this reason I have drawn this example, submitting 
only letters which are the most difficult to make. After you have mastered the strokes as indicated, you will have no trouble whatsoever 
with the remaining letters. While I believe this example is perfectly clear to you, it will do no harm to mention that first of all learn to roll 
the ferrule of your brush in your fingers with a clear movement in order that you may without trouble make all curves and strokes freely; 
in other words, keep your brush flattened according to the direction in which your brush is headed. The illustration in Fig. 3 shows the 
brush reversed from that of the downward stroke. You may find the turning of the brush in your fingers a little difficult to start with; 
however, it is very important, as you cannot hold your brush in one position only and execute these letters satisfactorily. 



17 



The object of specimens (Figs. 6, 7, 8 and 9) is for the pur- 
pose of demonstrating the different ways in which your inscrip- 
tion can be arranged. It does not begin to cover all the different 
ideas in this respect, but will give you a fair idea of layouts for 
copy which you want to make prominent, and at the same time 
fill out most of the card. In this way you are enabled to get very 
large letters on a small card by utilizing space by these different 
curved arrangements. This style generally applies to sale an- 
nouncements, soda fountain cards, menu cards, etc. For show 





Fig. 7 



cards, where but few words are required, I believe these are the 
most practical. One of the main arts, or I might say, one of the 
most important ones, is to acquire the knack of making your 
reading matter appear to fit the card. This can be accomplished 
in so many different ways that it would be impossible to cover 
all layouts which can be created. However, you will find these 
suggestions to be a valuable guide to you, and will suggest many 
different ones as you progress with this art. 



Fig. 6 



Too much stress cannot be put on the importance of balancing 
the appearance of your show cards. This is one of the most com- 
mon errors with the novice, and should be one of the first points 
to perfect yourself in. You can do this in many ways. A good 
way to familiarize and train yourself in this respect would be 
to save all clippings which contain a different arrangement of 
wording, such as you will see in the different magazines, and by 
constantly observing all signs and show cards that you come 
in contact with. In this way it will not be long before you have 
an unlimited supply of good ideas in this respect, but I would cau- 
tion you not to go too far beyond the plain layouts. Fancy ar- 
rangements are very confusing, and sometimes make a show card 
void of all interest and character. Ugliness in show cards is almost 




|P*nq| 



Fig. 9 



as repellent as ugliness in faces. Make your show cards smile. 
You can place character in show cards, or you can make them lifeless 
— so to speak. It is sometimes difficult to trace the salesmanship of 
display cards, but their value, however, has been tested and proven 
by hundreds of progressive merchants. The evidence of the value 
of this silent salesman is in their endorsement by the largest stores 
who have made this a study. Some of these concerns employ 
as high as twelve card writers at salaries ranging from $12 to 
$50 per week. The value is further evidenced by the harvest 
which show card writers are reaping who are making this a pro- 
fession in a commercial way. The demand for competent show 
card writers has far exceeded the supply, and will for many years 
to come. 



Fig. 8 



19 



Pen Stroke Italic — Upper and Lower Case 

a b cdefgh ijk Im n opq 
rstuuLvxu /234S67390 



Fig. 10 



20 





I I I I I I I I I I 




Fig. 11 



Fig. 12 

Pen Stroke Italic 

Several years ago the brush was used exclusively for making small letters 
on show cards, and in a great many cases with difficulty, as it is very hard to 
train a small brush for this work. While the pens that are used for this work to- 
day have been on the market for a great many years, it has only been in the last 
few years that they have been utilized for card writing. The letters can be made 
much neater and more accurately, and at the same time more speedily. The 
adoption of these pens has been a very important step in the advancement of this art. In Fig. 12 you will find illustrations of the style and 
numerous sizes. They are not unlike the ordinary pen, excepting the points are much wider, which allows a possibility of many different 
size letters. These flat-pointed pens, commonly known as the Round Writing Pens, will prove an indispensable article to any one who is 
making this art a profession. These pens can be purchased from the average stationery dealer or firms who carry a supply of pens, or if 
you are unable to buy them locally, they can be purchased from the J. G. Bissell Company. While an ordinary pen holder can be used 
with these, it is advisable to buy a holder which is specially adapted for these pens. This holder contains an adjustable ink retainer or brass 
strip which fits down over the end of the pen, and will carry a goodly supply of ink, thus obviating the necessity of dipping the pen so often. 
In addition to this valuable feature, it has a double end which is an advantage, in that you can keep two sizes of pens in one holder. The 
illustration in Fig. 11 will give you an idea of the construction of this little tool. 



A Few Hints On Practicing 




First of all, we would advise the beginner to use a ready prepared ink for these pens. While 
prepared liquid for these particular style pens, I have found, however, that a very satisfactory ink 
ning the regular show card colors to the proper consistency to allow same to flow freely. Bissell's 

ink in this respect by thinning, and it 
might be well to add a little gloss black, 
say about one-third, to this preparation. 
These colors come prepared for the brush 
and would be too thick for use in the pen 
without adding water; however, you can 
get more or less satisfaction for your 
practicing from any ordinary dense black 
ink. Any kind of smooth paper will serve 
for practice work, although enamel fin- 
ished paper is preferable. I consider 
this alphabet the second best in a practi- 
cal way, and would advise your careful 
study of same. The position of the pen 
in making these letters is about the same 
as you would hold the ordinary pen hold- 
er — which is by no means the same posi- 
tion that you would hold a brush — but 
should be held on a slant, as illustrated 
in Fig. 11. The pen should be kept on 
an angle of 45 degrees throughout the 
alphabet, as these letters are all designed 
for one position of the pen,. 

Fig. 13 



[ do not at this time know of any specially 
for this purpose can be prepared by thin- 
Satin Finish Black makes a very desirable 



<&o say- 

a suit Is perfect 

fitting, is easy; to 

prove Ills a differe/it 

mal/er -u/e do6olh. 



25. 



Fig. 14 




134 56Z89 

Fig. 15 

Figs. 13 and 14 are fairly good examples of the neat appearance of these letters. This style is intended only to be used for wording 
which does not require featuring. For large cards, these letters look much better in connection with feature words or bold designs. You 
probably will appreciate more fully the great help of the pen letter on price tickets or small cards, which require small and rapid lettering. 
Their beauty lies principally in the uniform slant of all curves and angles; in other words, if you should carelessly make one or two strokes 
which are not of the same slant, this will have a tendency to spoil the effect of the remaining letters which are uniform. If you should experi- 
ence any difficulty in this respect, which you probably will at the start, it would be well to rule some slanting linesfrom the top to the bottom 
of your practice sheet of the same angle which your letters are to be. Make them about one-half inch apart, as this will serve as a guide 
and you will soon become accustomed to making your letters with the uniform angle. Keep your pen clean by rinsing occasionally in water, 
as the sediment from the ink and the lint from the paper will gather on the point, and prevent your making a clean sharp letter. If your ink 
is inclined to splotch or blot when applied to the paper, this is generally an indication of its being too thick, although this is liable to occur 
when your pen contains too much ink. This is a matter in which you will have to govern yourself accordingly. On the other hand, if your 
ink does not feed freely, your pen is probably spread too much at the point; in this case replace with a new one, as the average life of these 
flat style pens, in constant use, is about one day, and as the cost is small, you can well afford to keep them replaced. 



23 



Artist's Single Stroke — Upper Case 



ABCDEFGHI 

JKLMNOPQR 
STUVWXYZ ; 



Fig. 16 



Artist's Single Stroke — Lower Case 



abcdef&hijklm 
nop qrstu vwyz 

1234567890 



Fig. 17 



25 



Modified Old English — Upper Case 



A~B<£B<S~£<B 



Fig. 18 



26 



Modified Old English—Lower Case 



abc6ef 9H1J 
klmrtopqrs 



Fig. 19 



Modified Old English 



For general show card writing, I would suggest that you do not deviate too much from plain letters which unquestionably are the 
most practical and easiest to read. However, a change occasionally is appreciated, and very pleasant to the eye, as long as the change is not 
too radical or complicated. For instance, the Old English in its original form is very hard to decipher, and would not be practical for display 

cards, as the main value 'of this art is in making your cards in a plain, legible 
manner. As mentioned, the Old English letter is complicated, and in view of 
its eccentric beauty, I have modified this alphabet so it may be utilized in a practi- 
cal way for show card writing. If you are familiar with the Old English letters, 
you can readily judge for yourself the simplified form in which these letters have 
been made as shown on pages 26 and 27, which represent the capitals and lower 
case alphabet. I rather enjoy making these letters, and have used them a great 
deal for show card writing on account of their decorative appearance, and the 
easy way in which they can be executed. I would not advise the use of this style 
throughout the entire card, but to be used only for short lines or words which you want 
featured, the balance of your copy being carried out in a more conservative style. 
Examples on pages 29, 30 and 31 will give you an idea as to the manner in which 
this style should be used; for Christmas cards, the Old English style is very ap- 
propriate. While it will require some skill to make these letters, I do not believe 
they will be as difficult as some of the other alphabets in these pages. However, 
as is often the case, when an alphabet is easy for one it is difficult for another. 
If you will observe carefully, you will note that they are completed throughout by 
one position of the brush, or in the same position that you would hold a pen for 
— back hand writing, which would be at an angle of about 45 degrees; this position 

being held throughout the entire alphabet as shown in Fig. 20. 




While the "Modified Old English" alphabet was made with 
the brush, it can be made equally as well with the flat pen, and 
will have just as pleasing effect in small letters as in large ones. 
Always avoid crowding this style as much as possible, as they 
will look much better extended or spread out. Care should always 
be taken in allowing the same margin between the letters. In 
making these letters, the pressure of the brush is unlike that of 
the "Egyptian," as it is advisable to work from the end of the 
brush instead of pressing the hairs down on the card too firmly. 











cftdvance Showing. 

(Dntooor Batjs 

cftre about here 













Exceptional Values 
Prices that tell the tale 



Fig. 22 



For the same size letters herewith reproduced I would advise 
a No. 9 Red Sable "Show Card" brush. However, for a card with 
a limited amount of reading matter, a No. 12 or No. 14 brush 
would be more suitable. More care should be taken in the training 
of the brush for this purpose, for the reason that after once making 
your stroke, it is rather difficult to go over it again, and follow 
the old marks accurately. Precaution should be taken by examin- 
ing your brush before placing it on the paper and see that the end 
is not divided, and the hair perfectly flat. 



Fig. 21 



29 



You should always use a piece of card board or glass or some- 
thing of this nature to train your brush along as you work. After 
dipping the color from the bottle on to this palette, see that the 
color is thoroughly mixed to the same consistency throughout 
the entire stock of your brush. In this way you can make many 
more letters without recharging the hairs with color. Guard 
against having to retouch these letters as much as possible, as 
their beauty lies chiefly in their being made with as few strokes 
as possible. In referring to Figs. 21, 24, 26 and 27, you will note 





asHnsfoj 



ctfte,/^ cl oLcll/s 
LuorJz as IrL 
t/ze mo mine? 



Fig. 25 



a few little flourishes which sometimes go to improve the beauty 
of the card, although I would not advise your making them too 
fancy, and before making these little embellishments, practice 
them thoroughly. The No. 3 Red Sable "Script" brush is the 
best adapted for this purpose, and should be made from the point 
of your brush in one sweep. Have your color fairly thin. The 
shaded parts of these scrolls is accomplished by a little pressure 
of the brush at the proper time. The position is held the same 
as in Fig. 40. There are only certain letters which it is advis- 
able to connect with these scrolls. 



Fig. 2\ 



30 



'dollar and\ 
aAalf 




Se I as help 
c/ou u>il/7 Ih/s 
problem. 



You will find that the accomplishment of these flourishes or scrolls will be through constant practice, and can not only be used on 
this style, but many others as well. They can be used for filling out blank space on cards to help balance your reading matter. You will 
note in Fig. 24, where it is utilized in this way, otherwise this card would not have appeared well proportioned. The instructions in con- 
nection with the "Brush Script" alpha- 
bet on pages 40 and 41 will give you 

a clearer understanding as to their 

execution, as these are used more 

frequently with the script letters. Re- 
ferring again to the Old English letters, 

if you should experience any difficulty 

in getting the proper position of the 

brush, it would be well to first take 

your brush while it is dry, and trace 

over the letters, holding your brush 

on the same angle in which they are 

made. In this way you can form a 

better idea as to how they are executed. 

Trace over the different angles and 

curves which are represented, and you 

can readily see that they require only 

one position of the brush throughout. 

You will be greatly pleased when you 

discover how rapidly and neatly you 

can make these letters with a little 

diligent practice. Much time is very 

often saved by the use of this style 

and its practicability and beauty will 
Fig. 26 never be Questioned. Fig . 27 





Christmas 
ifis 




Pen Stroke Roman — Upper and Lower Case 

ASC£>BFGHIJKLMN 

09Q C RSTUVWXYZ. 



abcdefghij klmnopq 
rstu v wxy z 



Fig. 25 



Pen Stroke Roman 





*Be sure you have 
everything for the 





"Che name is the thing 
of importance in select- 



The alphabet shown on page 32 is commonly known among the show card fraternity as the "Pen Stroke Roman." There are many 
different alterations from the original Roman style letter — this being one of them. Certain letters in this alphabet have been altered for 
the convenience of the pen. The Roman letter is one of the oldest known, and used 'more extensively than any other type, as it is much 

easier deciphered than any known style. 

For this reason it is used extensively 

for nearly every publication in the 

country. It is not an easy letter to 

make by any means; in fact, it will 

require much practice. This alphabet 

was designed particularly for the flat 

pen, although it can be made with the 

brush equally as well. Fig. 31 illus- 
trates very clearly the position of the 

brush. This position can be applied 

to the flat pen (this style pen is illus- 
trated in Fig. 11). The treatment 

of this style is practically the same 

as advised in the instructions treating 

on the "Pen Stroke Italic" on page 

21, with the exception of a different 

angle of the pen when pointing up 

the little spurs at the bottom of your 

strokes and other parallel lines which 

are represented in capitals E, L, T 

and Z. Aside from this, the angle 

of 45 degrees should be used as this 

is the natural position of the pen. 

It is not necessary to go over again 

the preparation of inks, etc., as this 

is covered in the "Pen Stroke Italic" 

instructions, as mentioned. Fig 30 




Fig. 29 



The Pen Stroke Roman should always be used in a condensed form, and not spread out too much on your cards. Fig. 30 is a good 
example in this respect. It has a much neater appearance where it is used in connection with some featured words with heavier type, as 
shown in Figs. 29 and 30. If there is no particular word or design which requires prominence, it would be well to make your first initial letter 

in a panel form. While the specimens in this book all represent the plain black 
letter on white card board, they can be substituted with another color. In this 
respect you can use your own discretion. For example, prices and all other feature 
headings can be made in any color. However, the most desirable style of show 
card for every purpose is the plain black and white. There are many different 
ways in which to make a variety of cards, but in my opinion there is no reason 
for using any other colors, excepting white, black and red, as the color effect 
should be created by the use of various colored card boards, which come in many 
different shades and designs, and can be purchased from almost any paper supply 
house. If you should experience any difficulty in obtaining any of these fancy 
card boards, the publishers of this book would be pleased to put you in communi- 
cation with the proper parties. A common error with the beginner is allowing 
too little margin of space around the cards. By having your letters large and 
allowing a small margin of space around your card does not necessarily make a 
card easier read — in fact, it will more likely make it complicated and more diffi- 
cult to decipher. The value of your card lies principally in its legibility at a glance. 
Keep your letters in compact form. Leave ample white space or margin around 
the outside of your lettering, and pay particular attention to proper spacing of 
your words, along with neatness in execution. By following this rule, you will 
find that your card will have an excellent appearance, easily read, and will 
harmonize with almost any window or interior decoration. 




Fig. 31 



34 



The neat lines around the show card specimens in this book were done with the ruling pen, and I 
little tool for this purpose. While most professionals do this lining with a brush, it is sometimes difficu 
practice, and for this reason I would advise in the beginning the use of this pen for lining and panelling 

in connection with 
an ordinary 
straight edge 
ruler, and would 
be used the same 
as any ordinary 
pen for making 
your straight lines. 
If you are not 
familiar with this 
instrument, y o ur 
dealer would b e 
glad to show you 
one, and explain 
its manipulation, 
which is very sim- 
Flg - 32 pie. If, however, 

you should prefer the more difficult way by lining your cards with the brush (and I will say 
the most practical way in the end), I would refer you to Fig. 48, which gives a good demon- 
stration of this method. The card writers do this outline work in many different ways, but I 
believe this would come more natural to you. You will note that the fingers are acting as a guide 
along the edge of the card board, and the brush is held between the first finger and thumb. 
The thing which you will find most difficult to master in lining your cards with the brush is 
being able to keep your fingers on a tension, or in a firm position, in a way which will not 
permit any variation in your line. The Red Sable "Script" brush is the most practical for 
this purpose, which you will find illustrated on page 55. 



will say that it is a very practical- 
It, and will require a great deal of 
your card. The ruling pen is used 





Fig. 33 



Angle Stroke Alphabet — Upper Case 






Fig. 34 



Angle Stroke Alphabet — Lower Case 



dbcdefghlj 
klmrvopqrst 



Fig. 35 



37 



Angle Stroke Alphabet 



The alphabets shown on pages 36 and 37 I have termed the "Angle Stroke." I do not know of a better name, as these letters are made 
entirely with one' stroke, and on an angle of 45 degrees throughout; hence, the name. There are many variations of this style, but I have 
endeavored to make them as convenient for the brush as possible, without having to reverse your brush at any point. It has a slight 

resemblance to the Roman, Italic and "Modified Old English." You will find it to 
be a very serviceable one for general show card work, where rapidity is necessary. 
It can be made with any size flat brush. The style brushes illustrated on pages 
52 and 53 are best adapted for this style. A No. 10 Red Sable "Show Card" 
brush would be about the proper size in making the alphabet illustrated; when 
increasing its size, you would naturally use a larger brush. This style can be 
made equally as well with the pen. Use the free hand and arm movement in their 
execution, and prepare your color in the same manner as advised for the brush in 
previous instructions. While this style is not used so extensively for the smaller 
and more refined cards, it can, however, be utilized for nearly every purpose in 
which other styles are advised. It can be made on a slant in the same manner 
as the "Pen Stroke Italic" on page 20, and practically with the same angle; in fact, 
all alphabets in this book can be reversed to a slanting or an upright position. 
The slanting letters are naturally easier to make, and any defects would not be 
so easily detected. However, I would advise first of all to master the different 
style letters in the upright position where they are illustrated in this way, as it is 
more difficult, and is, therefore, the most important. Great care should be taken 
in training your brush. Observe closely before each application the condition of 
the end of your brush, and see that it is not divided, and that the hair is perfectly 
straight across the point. Do not overcharge your brush with color. 




Fig. 36 



38 



123456789 

Fig. 37 

Have your color of a uniform consistency throughout the hair. This is important, as the training of your brush for one stroke work 
lies chiefly in the proper mixing of your color. This is to prevent the color from drying or "caking" around the heel of your brush, which 
causes the hairs to divide on the end, as mentioned. If you should experience any difficulty with the color in this way, it would be well to 
occasionally wash same out in water to eliminate the surplus color. Fig. 36 will show you the position and angle of the brush in executing 
this very interesting alphabet. Fig. 37 shows the style numerals which go with these letters. You probably will have occasion to use the 
numerals a great deal more than letters, especially for price tickets or small cards for temporary work. I have observed the numerals used 
in a slanting position more often than upright. However, in this matter you could use your own discretion, and according to your own taste. 
The graceful appearance of these letters will be retained by keeping them spread out. Do not condense or make these letters in a crowded 
manner, as this will make them more or less complicated to the eye. Each heavy part of these letters represents a different stroke of the 
brush; for example, we will take the capital letter A on page 36. You will note there are five heavy or shaded parts; therefore, this letter 
was made in five strokes. The letter C you will note contains three heavy parts, which represent three strokes. By following this example 
throughout the alphabet I believe you will have little difficulty in making these letters correctly, and in a very short time. 



39 



Brush Script — Upper Case 









Fig. 38 



Brush Script — Lower Case 



j& £ tc o us 2&U z. 



Fig. 39 



41 



Brush Script 



The Brush Script letters as illustrated on pages 40 and 41 are without doubt the most beautiful letters which can be used for show 
card work, and in my opinion they are the most difficult to make. While this style will come easier to one who has made a thorough study 
of penmanship, it does not follow that any one who is more or less deficient in this respect cannot make these letters with equal skill. 

I have personally known many show card writers who with the brush could 
create ideal script letters, but whose writing was so imperfect with the ordinary 
pen that few could decipher it. There are many persons desirous of learning this 
beautiful style who hesitate on this account, and I will say that this deficiency 



will not necessarily interfere. It is a matter only of diligent practice. This style 
letter for the show card is in better keeping with displays of a refined character, 
and should not be used in connection with the ordinary sale cards. I have pur- 
posely omitted filling in the first four letters of the Script Alphabets in order to 
show you that these letters are - made in what I would call a skeleton or 
outlined form, and afterwards filled in solid. ^ It is impossible to do this style 
with a flat brush, and make the fine lines which are necessary to make 
them a work of beauty. The style used is illustrated at the top of this page, 
and is known as the Red Sable "Script" brush. These come in six sizes as 
illustrated on page 55. The above illustration is size 3. This probably is the 
most convenient used for this purpose. For a full sheet card, 22 x 28, a larger 
size would be in better proportion. You will note that each stroke is made 
continuous, and for this reason 1 would advise extra precaution in preparing 

before starting each stroke. The color should be mixed a little thinner than for the ordinary heavy style letters with 

brush is pointed properly before commencing. 




Fig. 40 



your color 
the brush. 



on the brush 
See that your 



42 




456789 



Fig. 41 



Margins 

Lack of sufficient margin around your inscription will spoil the appearance of your card more than any other defect will. The 
inscription should be well centered, or kept well in from the outside edge of the card. In this respect, it is almost impossible to go to 
extremes. Unlike any other classes of signs, the show card is intended only to be read at a short distance, and therefore does not require 
letters as large as those of the permanent kind. It is not necessary to have an equal margin all around the card, as it is very seldom that 
your inscription will permit this arrangement, but there should be an equal amount of space on the corresponding sides. As an example, 
refer to Fig. 42 and you will note there is a greater margin at the top and bottom than there is at each end. Always keep this in mind and 
allow a liberal amount of blank space around your card. Remember the reader will be very close to the sign, and can read it with less effort 
than a card which is lettered over the entire surface. The wider the margin the neater the card will look in almost all cases. In this respect, 
you will have to use sensible principles, the same as you would in anything else of a varying nature. 



43 



Selecting a Place to Work 

In selecting a place for your work room, it would pay to 
locate near a well lighted window, if possible. If you can arrange 
your desk so the light will come from your left side, it would be 
much better. The light coming from the right side would cast 
a shadow from your hand in the space where your letter is to be 
made. While there would be a shadow from the other position, 
this would not interfere in making your letters. If you are obliged 
to face the light, it is well to use an eye shade, as facing a direct 
light is not good for the eyes. I would further caution you to 
do as little work as possible by artificial light; however, this is 




fAduarice 




for early buyers, 
at special prices. 



Fig. 43 

not always avoidable; but in the event that you are compelled 
to work in the evenings, arrange a good steady light, and place 
it directly in front of the desk on which you are working. If you 
use a shade on the light, it should be placed on an elevation suffi- 
cient to throw the light on your work only. On the other hand, 
if you do not use a shade, it would be much better to have the 
light in a position where it does not throw a direct glare in your 
eyes. While you may not notice any immediate harm, it is bound 
to affect the eyes eventually. Another disadvantage of artificial 
light is that you can not properly judge your colors and shades, 
and if you will test this out, you will find that a shade mixed at 
night will look entirely different in the day time. 



Fig. 4 2 












.Many a man of fashion 
would buy our suits at twice 
the price, on account of their 
superior quality and perfect fit 











Fig. 44 



Fig. 45 




Double End Holder with Ink Retainers, for use with the Round Writing Pens. 



Fancy Stroke Alphabet — Upper Case 



abcdefghij 
klmnopqrs 

tuvwxyz:& 



Fig. 46 



Fancy Stroke Alphabet — Lower Case 



abcdef&hiiklm 

nopqrstuvwyz 

1234B6789 



Fig. 47 



47 



The Worth of Your Work 

There is no fixed scale of prices for show cards. This you will have to regulate according to the time necessary to execute the 
inscription; charge according to quality, and your ability as a show card writer. In this connection, I will say that the amateur cannot expect 
to charge as much for his work as the expert, as the latter can accomplish more in a given time than the former. Until you are able to acquire 
a normal rate of speed, you will have to regulate your prices accordingly. Cost 
of material is of minor importance, although you should not entirely ignore it 
when fixing your prices. Before estimating the cost of a sign, be sure you know 
the amount of reading matter to be placed on it. After you have figured out the 
time spent in making a letter or a word, you will be able to estimate the time 
necessary to make the entire inscription. Quality alone will not help you to judge 
the worth of your work. Most people will not mind a little extra expense to get 
prompt, reliable service. Good work and prompt service will enable you to ask 
more for your product. 

In my experience I have had customers come into the shop with the one 
question "How much do you charge for such and such size card?" It is impossible 
to answer this question, as the inscription may represent one day's work, or it 
can represent ten minutes' work. Hardly two show cards are alike; scarcely 
any two would represent the same amount of reading matter. Every customer 
has a different suggestion to make, not to say anything of the odd shapes and 
designs which they may want you to work out for them, including one of a large 
variety of card board possible to letter. Thus, it is an impossibility to correctly 
estimate the cost of a show card in the novelty class until you have full possession 
of an explicit and complete memorandum of the reading matter and their ideas. 
Another thing which I desire to call your attention to is in the matter of doing little odd jobs for your regular customers; that is to say. 
should a regular customer want a small card to fill in, do not try to charge according to the time in preparing to make the card, as this 
would run the cost beyond what the customer would consider reasonable. Charge the extra time to shop expense, and endeavor to make up 
this deficiency on his future work. It is often necessary to handle these matters in a diplomatic way. Naturally, if your customer decides 
that the price for a small job is exorbitant, he will be impressed with the idea that all your charges are in proportion. Therefore, consider 




Fig. 48 



4*8 



- 1 T 











'Within the 
^Baeryone 












Fig. 49 



Fig. SO 



Fig. 51 



49 



the small job to your regular customers more in the line of an accommodation. On the other hand, if this work was being done for a 
transient customer, you would naturally charge according to the time spent in preparation, etc. While the above subject treats mainly 
on prices to charge for cards in the novelty class, we must not overlook the ordinary cards for business purposes, which as a rule are 
more or less uniform; I will say not to exceed a dozen words or so of the ordinary plain lettering in black or colored letters. The following 
may be contracted for in advance: 

Full Sheets. $0.75 

Half Sheets .45 

Quarter Sheets .25 

Eighth Sheets 15 




Fig. 53 



Advance all smaller cards proportionately, according to the amount of work, or on the assumption that the wording is not to exceed 
a certain amount. The above scale probably dominates among the principal show card shops of the country, and is suggested only as a 
guide to begin with. Do not be backward about charging what your work is worth. In this respect 1 feel quite sure that yoi r customers 
will appreciate your ability more than if you charged less than your work is worth. 

50 




Slanting Desk 



In Fig. 52 I have sketched a desk to give you an 
■ idea of the style which is best adapted for show card 
writing. You will note the top is made so it can be 
tilted to any angle by the aid of hinges which are fast- 
tened to the lower edge of the desk. This arrangement 
is very advantageous for certain classes of work. I have 
^^ ^iimfflM^^^ ^^^^^^^ also arranged a top ledge which you will find very con- 

venient for keeping different accessories. While this 
drawing does not represent all the little conveniences 
which can be attached, you will find that this arrange- 
ment alone will be very practical in a good many ways. 
There are many other little improvements which you 
can add to this yourself. The arrangement is very 
simple, and can be built out of any kind of smooth 
lumber. However, if you do not care to go to this ex- 
pense, an old table will serve very well, by elevating the 
back to this angle by the aid of blocks. In either case 
you should take pains in arranging for your "T" square 
.as indicated in the cut. Your desk should be perfectly square on the left and lower edge. When this is done, if a yardstick is available, 
tack this on two edges as shown in the cut, which serves as a correct guide for the "T" square, and will save you much time in ruling 
your cards. The yardstick fastened on these edges will also prevent your card sliding from the desk. The slanting position is for the 
object of giving the eye a more direct line on your work; therefore, enabling you to lay out cards more correctly. The flat desk is not 
practical, for the reason that it will necessitate your leaning over same; this position being very awkward. Do not use an upright easel 
for show card writing. The extra extension or cabinet which is added, I have found to be very convenient for keeping card board. It is 
much better to lay your card board flat. In this way it is less liable to become soiled, and will always be in a perfect condition when 
needed. Do not stand your card board on edge, as this is inclined to warp the board, and render it awkward to handle when lettering. 
By keeping your card board as indicated in the drawing, it will always lie flat on your desk and cause you no trouble in making your signs. 



Fig. 52 



Bissell's "Show CarcT' Lettering Brushes 

Finest Red Sable Hair, in Nickeled Seamless Ferrules, with 7-Inch Polished Cedar Handles 

They Require No "Breaking In" 




I] 11 I 



I 



i '|i'-.l'l! l l! 



|| 



/ \fj 



I 






1 



j 2 3 4 5 (i 



10 11 



Illustration exact size of brush. 

These brushes are designed especially for one-stroke show 
card lettering, and are made of the finest Red Sable hair of full 
stock; they are easy to keep in perfect condition. 



No. 1. 
No. 2. 
No. 3. 
No. 4. 
No. 5. 
No. 6. 
No. 7. 
No. 8. 
No. 9. 
No. 10. 
No. 11. 
No. 12. 



Each 
$0.10 
.11 
.12 
.13 
.16 
.20 
.23 
.25 
.30 
.33 
.35 
.40 



Fig. 55 



.J 



Bissell's "Show Card" Lettering Brushes — Continued 

Finest Red Sable Hair, in Nickeled Seamless Ferrules, with 7-Inch Polished Cedar Handles 

They Require No " Breaking In " 

Illustration exact size of brush. 

Owing to the scarcity of the length of Red Sable hair used in the construc- 
tion of these brushes, the cost is more in proportion than the smaller sizes. 
The cost should not be considered by the artist who values the time-saving 
qualities cf these high grade brushes. 




No. 14. 
No. 16. 
No. 18. 



Each 

£0.65 

.80 

1.00 



No. 20 1.25 

No. 22 1.60 

No. 24. . . 2.00 



16 



18 



20 

Fig. 56 



22 



24 



S3 



Bissell's "Flat Stroke" Show Card Brushes 



Finest Red Sable Hair, in Nickeled Seamless Ferrules with 7 -Inch Polished Cedar Hand! 



es 



They Require No "Breaking In* 




M in. 516 in. 



in. Yi in. 

Fig. 57 



Hia. 



Illustration exact size. 

The style of this brush is an improvement on all stroke brushes on the market, 
will appeal to the card writer who is partial to the flat brush. 

The elasticity of this brush is retained and not weakened as is the case with 
the average brush with the flattened ferrule. 

This brush is made with two grades of hair: Genuine Red Sable and Ox Hair. 



GENUINE RED SABLE. 



/4-inch. 



16" 



Each 

?0.40 

.65 



%-inch 85 

3^-inch : 1.15 

^s-inch ' 1.40 



54 



Bissell's Red Sable "Script" Brushes 



Finest Red Sable Hair, in Nickeled Seamless Ferrules, 7-Inch Black Handles 




Requires No " Breaking In " 



Illustration exact size. 



These brushes are specially made for script letters, outlining, fine scrolls, or for any work 
requiring neat, graceful strokes. 

Each 

No. 1— "Script" $0.12 

No. 2— "Script" 15 

No. 3— "Script" ■. 20 

No. 4— "Script" 25 

No. 5— "Script" 30 

No. 6— "Script" • 35 



Bissell's Satin Finish Show Card Colors 

For the Brush — Ready for Use 



Illustration of 2-ounce size reduced. 



Time and experience have proven that water colors are the most practical and satisfactory for show card writing. 
Bissell's Colors have all the requirements to produce the most beautiful effects in show cards, containing all the adhesives for binder, 
etc., and ready for instant use, flowing from the brush with a smoothness that allows of very rapid work, but with "just the right pull." 

The great annoyance of the brush splitting or dividing on the end has been overcome. Bissell's Colors keep 
the end of the brush in perfect condition, which is very essential in making neat, graceful, and uniform letters. 
The Red Sable brush is the most satisfactory for water color work. 

Bissell's Colors are ground to the utmost fineness in our modern factory with specially designed machinery for 
this purpose, and prepared in every detail by the most capable men in the country who are practical and appreciate 
all the requirements in show card colors to produce the best results. 

Bissell's Colors are put up in absolutely airtight glass receptacles — which is very important — in four convenient 
sizes. If you want a dependable color, Bissell's Brand is unquestionably the best preparation of this kind on the market. 
Made from bright, strong, clear, attractive colors of the highest quality. 
Fig. 59 Packed in Fibre Boxes 




SATIN FINISH 



Black, White, Light Red, Dark Red, Light Green, Dark Green, Turquoise Blue, Ultramarine Blue, Yellow, 

Orange, Brown, Lavender 

Each 

2-ounce Bottles $0.15 

Half-pint Bottles 40 

Pint Bottles 75 

Quart Bottles 1.40 

56 



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LIBRARY OF CONGRESS 



013 963 880 3 • 



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